47,087 research outputs found
Extracting finite structure from infinite language
Get PDFThis paper presents a novel connectionist memory-rule based model capable of learning the finite-state properties of an input language from a set of positive examples. The model is based upon an unsupervised recurrent self-organizing map [T. McQueen, A. Hopgood, J. Tepper, T. Allen, A recurrent self-organizing map for temporal sequence processing, in: Proceedings of Fourth International Conference in Recent Advances in Soft Computing (RASC2002), Nottingham, 2002] with laterally interconnected neurons. A derivation of functionalequivalence theory [J. Hopcroft, J. Ullman, Introduction to Automata Theory, Languages and Computation, vol. 1, Addison-Wesley, Reading, MA, 1979] is used that allows the model to exploit similarities between the future context of previously memorized sequences and the future context of the current input sequence. This bottom-up learning algorithm binds functionally related neurons together to form states. Results show that the model is able to learn the Reber grammar [A. Cleeremans, D. Schreiber, J. McClelland, Finite state automata and simple recurrent networks, Neural Computation, 1 (1989) 372–381] perfectly from a randomly generated training set and to generalize to sequences beyond the length of those found in the training set
George A. Allen Jr. and unidentified man
No full textPhoto of George A. Allen, Jr. (right), son of Dr. George A. Allen of Salt Lake City, with another unidentified ma
The Disœvre, by Felicity Allen
No full textSome of us were taught to be adaptable, prepared to proxy through others the aspiration we’d been trained in; our children perhaps or our partners, our bosses, or our professors. We’d bend our thinking to accommodate the desires or inflections of others. Or take on extra jobs, maybe studying or working at home at night. Not everyone in the margins was trained this way: distinctions of gender, class, colour might result in being trained in intransigence, mirroring the unswerving convention recognised as discipline that identified the œuvre-producing white male artist
Felicity Allen coins the neologism ‘Disœuvre’ as an alternative to the conventional ‘oeuvre’ produced by art’s heroes. Four voices (material, personal, rational, and cultural) converge to produce a Disœuvre, where the unrecognised work, its continuities of thought and commitment, is situated as coming and going.
‘While this book appears to be fragmentary at first glance, it introduces in a cohesive, suggestive, and evocative manner the powerful concept of the Disœuvre. We are invited to think ourselves into these pages, recognise our own disœuvre, and the experience of creating, having, and living with it. The multiple registers of the diaristic, the reflexive, the authoritative, and the poetic voices are augmented by the visual narrative, and by the presence of the WASL table as the site that recalls the unfolding of Allen’s own disœuvre. It is a delicate and eloquent testament.’
–≥Hilary Robinson
Felicity Allen works with varied forms of production, often collaboratively and over time. Her film As If They Existed, made with Tom Dale. was commissioned by Turner Contemporary in 2015, as part of a residency which explored how women’s work in the arts continues to shift ideas about artistic practice and how to record it. She is the editor of Education (Documents of Contemporary Art), published by MIT/Whitechapel Art Gallery in 2011. Current projects include a durational approach to The Disoeuvre and collaborations with the activist Refugee Tales and the research project People Like You
Allen Collection; no.10797
No full textSepia image of a flooded street in Silver City, New Mexico. Five unidentified individuals line street watching the flood. Written in black ink on image; ""Billy Marshall, Independence, A. S. _______, Hay____, Bayne & Ward, Chineese, SInger Sewing Ma, The Art Shop. Pinkerton, ____house, A__e's."" Image mounted on black matte paper.Master file: image/tiff; 216,114 KB: Computer Hardware: Intel Pentium (R) 4 3.20 GHz/ 1.99 GB RAM manufactured by Dell; Operating system: Windows XP 2002; Creation software: Adobe Photoshop CS2 version 9.0.2; Scanner: flatbed reflective scanner Microtek 1000XL; Scanner software: Microtek SilverFast Ai 6.4.2r2b; Scanned by Jason Dunlap on 2010-01-18
David Allen Reed
No full textA portrait photograph of David Allen Reed, founder and first president of the School for Christian Workers (now Springfield College).It was Reed’s interest in the formal training of men who would devote their life to Christian service that led him to found the Springfield, MA school which was dedicated to training Sunday school teachers and YMCA workers. Reed was responsible for securing the funds and land necessary to start and expand the school to its current location on Massasoit Lake. Eventually, the YMCA department separated from the School for Christian Workers becoming the YMCA Training School and later the International YMCA Training College. In 1953 the name changed to Springfield College. In 1891 Reed resigned as president of the Training School but maintained his interest and connection until his death in 1932.Photograph is mounted on a black picture board
Ma Belle
No full textGift of Dr. Mary Jane Esplen.With Vivienne Segal, Lester Allen & Yvonne D'Arle ; book by Wm. Anthony McGuire ; dances and ensembles by Albertina Rasch [note]Piano vocal ukulele [instrumentation]I used to say: "No attraction [first line]Ma Belle! Ma Belle! You are so charming [first line of chorus]D major [key]Andantino [tempo]Popular song [form/genre]Graphic [illustration]Publisher's advertisement on front inside cover, back inside cover and back cover [note
Re-Discovering Ethan Allen and Thomas Young's Reason the Only Oracle of Man: The Rise of Deism in Pre-Revolutionary America
Get PDFIn 1784, Ethan Allen (1738-1789), the leader of the Green Mountain Boys and legendary Revolutionary War hero, and his friend Thomas Young (1731-1777) published Reason the only Oracle of Man. In their opus, America’s premier text formally introducing Deism, Allen and Young systematically dismantle the ecclesiastical foundations of New England by specifically targeting the undemocratic principles of the Congregational Church. Allen and Young wrote Reason as a revolt against the encroaching ecclesiastical domination. The duo focused upon many topics central to the European Enlightenment: substance and matter, formation versus creation, immortality, the soul, the nature and motives of prophecy, and time and eternity. Thomas Young, a student of deism, mentored a teenage Allen and instilled in him a distinctly British ideology (one based on the writings of Charles Blount and John Locke) that, paired with Allen’s upbringing in an anti-Calvinist home, materialized into America’s premier deist text.Master of Arts (MA)Englis
Ma Mississippi Belle, 1900
No full textThe piano score for Ma Mississippi Belle with music by John Rosamond Johnson and lyrics by Bob Cole and James Weldon Johnson. Robert Allen Cole was a Black lyricist. John Rosamond Johnson was a Black composer. Cole wrote the words alongside Johnson\u27s brother James Weldon Johnson, a Black American writer and civil rights activist.https://digitalcommons.usf.edu/aa_sheet_music/1257/thumbnail.jp
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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